Sun Earth. How to Apply Free Energy Sources to Our Homes and Buildings by Solar Group Architects was published by A.B.Hirschfeld Press in Denver, Colorado in 1976. There’s a related volume titled Sun Earth. How To Use Solar and Climatic Energies Today, with a similar design. It’s credited to Richard L. Crowther (concepts, text), Paul Karius (graphics, text) Lawrence Atkinson (text, cover design), and Donald J. Frey (text, editing).

[Richard L. Crowther’s] pioneering work in residential solar technology led to lectures at the Smithsonian Institution, solar conferences and universities across the U.S. Crowther’s architecture publications are still used to teach students. His “Sun-Earth” text has a reputation for setting a benchmark in holistic architecture design, with arguments outlining economic and environmental benefits. —Wikipedia

The title on the silver book cover is rendered in outlined caps from Helvetica Bold, set on an angle, with overlapping letters.

Designed by parent company Victor Records and most likely made in April or May 1939, this promotional poster highlights the single “Sunrise Serenade” backed with “Moonlight Serenade”, Glenn Miller’s theme song, Bluebird record number B-10214, a shellac 78 rpm release.

It features the 1936 ATF face Kaufmann Bold (“Made by Victor”) as well as Futura Condensed Bold (1930, “Sunrise Serenade”, “Moonlight Serenade”) and Futura Medium and Medium Italic (“On Record No. B-10214”). The “Printed in U.S.A” at the bottom of the white stripe is handwritten.

Image from Heritage Auctions; poster is in the Public Domain as it was never published with a copyright notice.

Source: https://www.flickr.comUploaded to Flickr by Klaus Hiltscher and tagged with “carlton”. License: All Rights Reserved.

This album by Californian psychedelic rock band Rain Parade was recorded live at Shibuya Hall, Tokyo, Dec. 16, 1984. Originally available only as a Japanese import, this is the cover of the US re-release on Restless Records.

The band name is rendered in tightly spaced and partially overlapping caps from Carlton,Letraset’s 1970s revival of Ehmcke-Antiqua. Originally issued by Flinsch in 1909, the foundry version was sold by Stephenson Blake in England under the name Carlton. The A used here is included in ITC’s digital version as a stylistic alternate.

An early use of California Grotesk titles the monaural cover of The Beach Boys’ last intended summer-themed release and their 6th studio album, released on July 13, 1964 on Capitol Records. No cover designer credited. Photography by Capitol Photo Studio, George Jerman, Ken Veeder, with images taken in Paradise Cove, California. In supporting roles: Italic caps from Univers and Trade Gothic for the song titles, Venus Light Extended for “High Fidelity”, and Futura Bold for “File under”.

Hoefler & Co’s Archer typeface is used in nearly all typography for Anaptár — a unique, informative poster calendar, which is not only a work of beauty but also a source of fascinating new discoveries. This is much more than a traditional calendar. It provides lots of information beside enumerating days, like visualizing data on the sun and the moon in a new way. The calendar shows the movement of these planets in the sky, and because of the radial arrangement this huge amount of data is incorporated in a spectacular, complex and yet easily comprehensible system.

There have been other calendars with circular designs, but this data visualizing method is unprecedented. It literally makes astronomic correlations visible.

“I conducted a survey some years ago on how people see a year. It turned out that almost everyone saw it linearly. It seemed that it was cyclical only in my head, that is I saw it in a unique way. The Moon has fascinated me since I was a child. I wonder why it appears at different heights and in different sizes in different phases of its cycle. This curiosity led me to design the first Anaptár, the creation of which is a rather meticulous but loveable task for me.” — Anna Farkas

Anaptár is the result of exceptionally meticulous work: all the versions made for various cities are different because the represented data are specific to the given city only.

I did this poster for an experimental music concert in Nantes that took place in Blockhaus DY10, a former bunker from World War II.

As the music of Black Zone Myth Chant is dark and ambient, I wanted to tell an occult tale with the image produced for this concert. I started to search through Art Nouveau fonts, to finally discover Eckmannpsych, an odd remix of Eckmann that would fit perfectly to my story. I also used Autopia, an experimental typeface that received its quirky calligraphic shapes by combining autotrace with python code. The black sun on the top is directly inspired from Eckmannpsych shapes, not the other way around.

A tray liner is a piece of paper that's placed between the tray and the foods you order. Here's one from 1981, used by Mc Donald's in the United States, from Jason Liebig’s stunning collection of McDonald’s items. The font in use is Eightball, a typeface without a credited designer, probably released in the early 1970s and available under different names at different manufacturers. This design uses the simpler alternates for a and g.

Released in 1968 or 1969, Hello World was the only album by rock band Today’s People. The cover was designed by illustrator and Cooper Union graduate Sanford “Sandy” Hoffman, who passed away in 2017 at age 80.

The typography combines three decorated typefaces by Photo-Lettering, Inc.: Seymour Chwast’s BlimpA (with stripe gradient); Charles Papirtis’ Washington, a stars-and-stripes variation of Broadway; and the uncredited Land of the Free, another face from PLINC’s patriotic department — it’s a star-spangled adaptation of Rudolf Koch’s Prisma.

Tuco, an Argentinian design studio focused on branding and brand strategy, has redesigned the entire branding system of Poliversal, an Argentinian packaging company.

The new brand of Poliversal evokes in its isotype “the idea of ​​the sun, as a creator of life and energy. It also becomes a central part of the corporate illustrations that empathically connote respect and care for the environment” and reflects the compromise of this family-run company with the environment.

Wolfgang Homola’s Soleilhas been chosen for the entire branding system. We asked Hernán Rosas, founder member of Tuco, about using Soleil in Poliversal: “Soleil offers a fresh and contemporary approach. It stands out for its complex balance between geometric appearance and great flexibility thanks to its wide range of variables and symbols. It is ideal for our new corporate image. All its architecture is based on modernist ideas of simplicity and reduction to essential forms.”

A bit of background on The Norfolk Broads: They are a four-piece female ensemble who enjoy singing low-pitched folk songs about love, despair and dastardly boyfriends.

They bonded over maritime work songs and failed romances in the alto section of the Trad Academy Sea Shanty Choir, deciding to form a girl-group during a long car ride to Cornwall in 2014. Since then, they have performed their spirited harmonies at festivals and venues in London and further afield, including the V&A Museum of Childhood, the Museum of London Docklands, on board the Cutty Sark, Wilton’s Music Hall, the London Review Bookshop, Folk East festival 2016 and the Minack Theatre.

The Broads supply their repertoire of traditional stories with a very contemporary verve and energy, using old songs to fuel new takes on the lives of women both past and present.

“Young female quartet the Norfolk Broads are strong storytellers … Their close harmonies brought a witty feminist take to a well-curated set of tales of impotence, greedy landlords, and the joys of a single life.” — Imogen Tilden, The Guardian

Andrew Steeves relied on Neacademia for the heavy-lifting in John Steffler’s 333-page strong novel German Mills, the story of an 18th-century fortune-seeker, who’s leaving behind his German home to embark on a journey into the American wilderness. The typeface is used for the jacket and throughout the book, where the skilfully placed typography is accented with woodcut illustrations by Jack McMaster. The composition of the cover is based on a woodcut title page from a 1788 German-language almanac printed in Halifax, with title and author in Lucida Blackletter.

Designed and typeset by Andrew Steeves in Neacademia by Sergei Egorov. Jackets printed on a Vandercook press using St. Armand Canal paper. Gaspereau Press, Kentville, Nova Scotia.

Planetarium is an album co-composed by four musicians: Bryce Dessner, James McAlister, Nico Muhly, and Sufjan Stevens. Flanked by a string quartet and a consort of seven trombones, this unique collaborative ensemble has assembled an expansive song cycle that explores the Sun, the Moon, the planets and other celestial bodies of our solar system (and beyond) through soundscape, song, science and myth.

With a concept that shoots for the stars, it’s not surprising that the vinyl release is equally expansive. To do it justice, eleven artists were commissioned to create eleven astral portraits of nine planets, the sun and the moon, all of which are presented on individual 12″ cards slipped into the album’s gatefold.

This poster by April Greiman (and Michael Manwaring?) from 1984 [Sean Adams] or 1985 [LACMA, Made In Space, Ader Nordmann] features Greiman’s trademark aesthetics in a playful riff on Californian visual culture. It is also an early example of a poster made with the then new Macintosh, as it uses Susan Kare’s today forgotten MacOS system font Athens, a slab serif bitmap design optimized for 18pt. No official TrueType version was ever made.

Made for the American Institute of Graphic Arts (AIGA). 6 color offset lithograph, 36.5×24in.